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ملامح الصورة الفنية في حكم المتنبي

المصدر: مجلة القادسية للعلوم الإنسانية
الناشر: جامعة القادسية - كلية الآداب
المؤلف الرئيسي: السوفي، ستار جبار رزيج (مؤلف)
المؤلف الرئيسي (الإنجليزية): Razeer, Sattar Jabar
مؤلفين آخرين: عطية، لؤي كريم (م. مشارك)
المجلد/العدد: مج9, ع1,2
محكمة: نعم
الدولة: العراق
التاريخ الميلادي: 2006
الصفحات: 385 - 401
ISSN: 1991-7805
رقم MD: 848030
نوع المحتوى: بحوث ومقالات
قواعد المعلومات: HumanIndex
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المستخلص: تعد الحكمة من أبرز وأروع عناصر الإبداع الشعري لدى المتنبي؛ إذ يتجلى هذا الإبداع في تلون معالم الصياغة للصورة الفنية في حكمه، الأمر الذي دفع المعري إلى نعته بالحكيم، فقد تناول البحث حصيلة اقتران اللفظ بالمعنى في النص الحكمي بجانبيه الفني والموضوعي ،وعلى الرغم من أن المتنبي لم يحيد عن سابقيه في استمداد بنائه الصوري من طبيعة مجتمعه الخلابة والحافلة بأفانين الصور إلا انه تفرد عن غيره بسمة الجرأة في الخيال التصويري فخلف الحقيقة وراءه دون الاعتماد عليها كثيرا؛ لأنه اتكأ على الفكر الذي وسعت الثقافة آفاقه وهذبت الحضارة حواشيه، من هنا فقد شكلت الحياة وتنوعتها فضلا عن الموت وما يربط به العمود الفقري لمعالم الصورة الفنية في حكم المتنبي، فكان المتنبي شاعرا واقعيا حينما تحدث عما حوله؛ فحافظ في بناء صوره ومعانيه على قوة الاتصال بالعناصر التي كانت قريبة منه فتوزعت على مدارك حواسه المختلفة واكتسبت سماتها منها كما أنه لم يدعها جامدة تملها النفس ويعافها الوجدان بل أشاع فيها الحركة والنشاط فماجت بالحيوية مستعينا بوسائل البيان المختلفة كالتشبيه والتمثيل والاستعارة وغيرها.

We could abridging the results that came by it the perfective studying by following: Firstly: The aphorism does not left literature of Al-Mutanabby as object capillary, But it is constituted important tributary in an ingenuity him the artistic, where Poet Al-Abbasy could compassing different lives arenas from a side and he enclosed the much from an aphorisms him strong building and novelty vociferating and clarities which need it this style from poetry generally, with a partial finding for picture artistical that occupied place it in the numerous from an aphorisms him with a disparities between it in haraka and catholicity . Secondly: aphorisms of Al-Mutanabby comprised the disjunctive area between lives and death with an addresses it the different. Aphorisms of lives were more and violent from aphorisms of death. This the aphorisms, the poet contrived it from an experiment him personal identity the farness warlike because of a proximity him from princes and leaders. Generally the artistical pictures in an aphorisms him little and it depended an articles the comparing the implicit and borrowing and metonymies and trope to a thrift the atmosphere the sensory for addressee without alienating to frame the psycho common for every the eclogue. Thirdly: More the artistical pictures that Al-Mutanabby couch him in an aphorisms him about lives and death nearish from the situated and until which dribbled from fancifulness does not depart from him, but roots it remain commentator with him and which helped it on those dependence Poet a principle the clarities in philosophic conceiving and in assemblance artistical together as foundation first-hand for couching aphorism the affined by identity gist which Al-Mutanabby does want from him to analog with easier a way. from here, the pemiissible talk in Abul-Tayyb was de facto in characterising him capillary often. Fourthly: much from pictures of Al-Mutanabby came in a frame the aphorism connected with context of missive capillary which came in it. Some it carrying a denotations of clear emblematic, ally with a nature of the difficult psychological the situated which was the poet long live him medium of an ambiance political and sociable has not the almightiness on accommodativeness with it or complying for quests it. Generally we find the artistical pictures that Al-Mutanabby modeled it in an aphorisms him identity allying straight-forward with psychological of situated him, once we see it a foggy the lineament or it absent from attendance, and another we espy in folds it the inspired with an abundance of the actions the function on abandon of particulars the especially with this the pictures or those . Fifthly: concord was not stood about the exceptional importance to side the artistical picture in aphorisms of Al-Mutanabby the affined with the lives or death for difference the stood about the doctrinaire description to fact the picture firstly and the critical professing to rendering it within the capillary oration secondly where for this the side a coming across it which is not abnegate in Al-Mutanabby literature generally and in an aphorisms him too from a direction, this object and a leftover of the elements of faddism of in that aphorisms made from a former chum him on a leftover the poets.

ISSN: 1991-7805

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